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Pink Floyd - The Dark Side Of The Moon Album

Pink Floyd - The Dark Side Of The Moon Album

  • Performer: Pink Floyd
  • Genre: Rock
  • Title: The Dark Side Of The Moon
  • Released: 1977
  • Style: Classic Rock, Prog Rock
  • Label: EMI
  • Catalog: 3 C064-05249
  • Country: Turkey
  • MP3 version size: 2755 mb
  • FLAC version size: 1513 mb
  • Rating: 4.2
  • Votes: 589

Tracklist

1Time
2Money
Saxophone – Dick Parry
3Brain Damage
4Us And Them
Saxophone – Dick Parry
5On The Run
6Breathe
7Eclipse
8The Great Gig In The Sky
Vocals – Clare Torry
9Any Colour You Like
10Speak To Me

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
SHVL 804, 1E 064 o 05249Pink Floyd The Dark Side Of The Moon ‎(LP, Album, Gat)Harvest, HarvestSHVL 804, 1E 064 o 05249UK1973
1C 064-05 249Pink Floyd The Dark Side Of The Moon ‎(LP, Album, RE, Gat)Harvest, EMI Electrola1C 064-05 249Germany1976
1C 064-05 249Pink Floyd The Dark Side Of The Moon ‎(LP, Album, RE, Gat)Harvest, EMI Electrola1C 064-05 249GermanyUnknown
ELD 02.21.257Pink Floyd El Lado Oscuro De La Luna ‎(LP, Album, Gat)EMIELD 02.21.257Peru1973
7243 8 2 9752 4 3Pink Floyd The Dark Side Of The Moon ‎(Cass, Album, RE, RM, Dol)EMI United Kingdom7243 8 2 9752 4 3Europe1994

Credits

  • Artwork [Sleeve Art, Stickers Art]George Hardie N.T.A.
  • Bass, Vocals, Synthesizer [Vcs3], Effects [Tape], Lyrics ByRoger Waters
  • Design [Sleeve], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Mixed By [Supervised]Chris Thomas
  • Percussion, Effects [Tape]Nick Mason
  • Producer, Music ByPink Floyd
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Written-ByGilmour (tracks: A2 to A4, B3), Mason (tracks: A1, A4, B3), Wright (tracks: A2, A4, A5, B2, B3), Waters (tracks: A2 to A4, B1, B2, B4, B5)
  • Artwork [Sleeve Art, Stickers Art]George Hardie N.T.A.
  • Backing VocalsBarry St John, Doris Troy, Leslie Duncan, Liza Strike
  • Bass, Vocals, Synthesizer [Vcs3], Effects [Tape], Lyrics ByRoger Waters
  • Design [Sleeve], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Mixed By [Supervised]Chris Thomas
  • Percussion, Effects [Tape]Nick Mason
  • Producer, Music ByPink Floyd
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Artwork [Sleeve Art, Stickers Art]George Hardie, N.T.A.
  • Backing VocalsBarry St John, Doris Troy, Leslie Duncan, Liza Strike
  • Bass Guitar, Vocals, Synthesizer [VCS3], Effects [Tape Effects], Lyrics ByRoger Waters
  • Design [Sleeve Design], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [VCS3]Richard Wright
  • Mixed By [Mixing Supervised By]Chris Thomas
  • Percussion, Effects [Tape Effects]Nick Mason
  • Producer, Music ByPink Floyd
  • Vocals, Guitar, Synthesizer [VCS3]David Gilmour
  • Backing VocalsBarry St. John, Doris Troy, Lesley Duncan, Liza Strike
  • Bass Guitar, Vocals, Synthesizer [VCS3], Tape [Tape Effects]Roger Waters
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [VCS3]Richard Wright
  • Lacquer Cut ByBG
  • Lyrics By [All Lyrics By]Roger Waters
  • Mixed By [Mixing Supervised By]Chris Thomas
  • Percussion, Tape [Tape Effects]Nick Mason
  • Producer, Music ByPink Floyd
  • Remastered ByBernie Grundman, James Guthrie, Joel Plante
  • Sleeve, ArtworkGeorge Hardie
  • Sleeve, Design, Photography ByHipgnosis
  • Vocals, Guitar, Synthesizer [VCS3]David Gilmour
  • Artwork [Sleeve Art, Stickers Art]George Hardie N.T.A.
  • Backing VocalsBarry St. John, Doris Troy, Lesley Duncan, Liza Strike
  • Bass, Vocals, Synthesizer [VCS3], Effects [Tape]Roger Waters
  • Design [Sleeve], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [VCS3]Richard Wright
  • Lyrics ByRoger Waters
  • Music ByPink Floyd
  • Percussion, Effects [Tape]Nick Mason
  • ProducerPink Floyd
  • Supervised By [Mixing]Chris Thomas
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Written-ByGilmour (tracks: A2 to A4, B3), Mason (tracks: A1, A4, B3), Wright (tracks: A2, A4, A5, B2, B3), Waters (tracks: A2 to A4, B1, B2, B4, B5)
  • Artwork [Sleeve Art By]George Hardie N.T.A.
  • Backing VocalsBarry St John, Doris Troy, Leslie Duncan, Liza Strike
  • Bass Guitar, Vocals, Synthesizer [Vcs3], Effects [Tape], Lyrics By [All Lyrics By]Roger Waters
  • Design [Sleeve Design By], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Mixed By [Supervisor]Chris Thomas
  • Percussion, Effects [Tape]Nick Mason
  • ProducerPink Floyd
  • SaxophoneDick Parry (tracks: B1, B2)
  • VocalsClare Torry (tracks: A5)
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Written-ByGilmour (tracks: A2 to A4, B3), Mason (tracks: A1, A4, B3), Wright (tracks: A2, A4, A5, B2, B3), Waters (tracks: A2 to A4, B1, B2, B4, B5)
  • Artwork [Sleeve Art]George Hardie N.T.A.
  • Backing VocalsBarry St John, Doris Troy, Leslie Duncan, Liza Strike
  • Bass Guitar, Vocals, Synthesizer [Vcs3], Tape [Effects]Roger Waters
  • Design [Sleeve Design], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Lyrics ByRoger Waters
  • Mixed By [Supervisor]Chris Thomas
  • Percussion, Tape [Effects]Nick Mason
  • ProducerPink Floyd
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Artwork By [Sleeve Art], Photography [Prism Photography] – Storm Thorgerson
  • Backing VocalsBarry St John, Clare Torry, Doris Troy, Leslie Duncan, Liza Strike
  • Bass, Vocals, Synthesizer [Vcs3], Effects [Tape Effects], Lyrics ByRoger Waters
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Mastered By [Digital Remastering]Doug Sax
  • Mixed By [Supervisor]Chris Thomas
  • Music ByGilmour, Mason, Wright, Waters
  • Percussion, Effects [Tape Effects]Nick Mason
  • Photography [Live Photographs] – Jill Furmanovsky
  • Photography [Photograms] – Chris Craske, Stylorouge
  • Photography [Prism Photography] – Tony May
  • Photography [Pyramid Photographs, Live Photographs] – Hipgnosis
  • ProducerPink Floyd
  • Technician [Remastering Supervisor]James Guthrie
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Bass Guitar, Vocals, Synthesizer [VCS3], Effects [Tape Effects]Roger Waters
  • Keyboards, Vocals, Synthesizer [VCS3]Richard Wright
  • Percussion, Effects [Tape Effects]Nick Mason
  • Vocals, Guitar, Synthesizer [VCS3]David Gilmour
  • Artwork [Sleeve Art, Stickers Art]George Hardie N.T.A.
  • Backing VocalsBarry St John, Doris Troy, Leslie Duncan, Liza Strike
  • Bass, Vocals, Synthesizer [Vcs3], Effects [Tape], Lyrics ByRoger Waters
  • Design [Sleeve], Photography ByHipgnosis
  • EngineerAlan Parsons
  • Engineer [Assistant]Peter James
  • Keyboards, Vocals, Synthesizer [Vcs3]Richard Wright
  • Mixed By [Supervised]Chris Thomas
  • Percussion, Effects [Tape]Nick Mason
  • Producer, Music ByPink Floyd
  • Vocals, Guitar, Synthesizer [Vcs3]David Gilmour
  • Written-ByGilmour (tracks: A2 to A4, B3), Mason (tracks: A1, A4, B3), Wright (tracks: A2, A4, A5, B2, B3), Waters (tracks: A2 to A4, B1, B2, B4, B5)

Notes

Recorded at Abbey Road Studios, London between June 1972 and January 1973.

℗ 1973 The Gramophone Co. Ltd.
Made in Gt. Britain

E.M.I Records (The Gramophone Co. Ltd.) Hayes · Middlesex · England
File under POPULAR : Pop Groups
_______________

This is the original form of the release, it has solid light blue prism LP picture labels with silver lettering, later forms have an empty prism. It has a gatefold sleeve, and there are three known variations of the original blue-tinged sleeve - see below. Originally delivered with 2 posters and 2 stickers.

There are 2 systems for track numbering on the release. The cover lists the titles A1 to B5 (used in this submission). The labels however number the tracks from (a) to (i) so, for example, "Breathe" is listed as "(a)(II)" on the label but "2" on the cover (see images).

The following is a guide to identifying all of the elements that make up the first pressing:

1. The label has a solid light blue prism. Subsequent pressings have a blue glowing inner edge prism with the centre black.
2. 'The Gramophone Co.' text starts at 10 o'clock on label.
3. A-2/B-2 matrix stamps appear in the runout area.
4. Thick heavyweight vinyl believed by some to be the 'finest' and most true encapsulation of this historical recording as the first pressing was pressed direct from the original masterplate.
5. There is a distinct bluish tint/tinge in the black ink of the cover.
6. There are three known original sleeve variations. 1. The right front opening of the gatefold cover is sealed with the two sides glued together. 2. The right front opening of the gatefold cover is sealed with a fold over flap that is glued inside the opening. 3. The right front opening of the gatefold cover is not sealed. A known 2/2 matrix, 1 mother, G stamper copy came with , an unglued and non-'folded in' sleeve at time of release, which hints at the possibility that very first pressings did not come with glued flaps, which is where the poster and stickers were located.
7. Inner sleeve is a distinctive polythene lined die cut black semi matt paper with white printed text stating 2 patent numbers bottom left [1125555/1072844] and 'MADE IN GREAT BRITAIN' bottom right.
8. Posters and stickers were printed on paper stock that has a rough texture (later pressings used paper that was gloss laminated).
9. Stickers have printed backs with diagonal lines across them, and the words 'Fasson' 'FasPrint' and 'Crack-Back'.
10. First copies came with a small round sticker white text on blueish black stating 'Pink Floyd The Dark Side of the Moon' (confirmed for stampers GL/MO).
____________

This first edition was initially pressed by The Gramophone Co. Ltd., from July 1st, 1973 by its legal successor, EMI Records Ltd. at the same plant.
International E.M.I. catalog number 1E 064 o 05249 appears in small fonts and parentheses on the cover rear.

Note on Credits:
Though credited for the entire album, Barry St John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.Side 1's label is textured but side 2's label is not.
Side 1's runout does not have "SMAS" etched at all like most pressing do, it is present on side 2 however.Edition limitée, Die-cut Sleeve
Recorded at Abbey Road Studios, London between June 1972 and January 1973.
Made in France by Pathé Marconi EMI.

Note on Credits:
Though not detailed in the liner notes, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.Recorded at Abbey Road Studios, London between June 1972 and January 1973.

℗ 1973 The Gramophone Co. Ltd.
Made in Gt. Britain

E.M.I Records (The Gramophone Co. Ltd.) Hayes · Middlesex · England
File under POPULAR : Pop Groups
_______________

This is the original form of the release, it has solid light blue prism LP picture labels with silver lettering, later forms have an empty prism. It has a gatefold sleeve, and there are three known variations of the original blue-tinged sleeve - see below. Originally delivered with 2 posters and 2 stickers.

There are 2 systems for track numbering on the release. The cover lists the titles A1 to B5 (used in this submission). The labels however number the tracks from (a) to (i) so, for example, "Breathe" is listed as "(a)(II)" on the label but "2" on the cover (see images).

The following is a guide to identifying all of the elements that make up the first pressing:

1. The label has a solid light blue prism. Subsequent pressings have a blue glowing inner edge prism with the centre black.
2. 'The Gramophone Co.' text starts at 10 o'clock on label.
3. A-2/B-2 matrix stamps appear in the runout area.
4. Thick heavyweight vinyl believed by some to be the 'finest' and most true encapsulation of this historical recording as the first pressing was pressed direct from the original masterplate.
5. There is a distinct bluish tint/tinge in the black ink of the cover.
6. There are three known original sleeve variations. 1. The right front opening of the gatefold cover is sealed with the two sides glued together. 2. The right front opening of the gatefold cover is sealed with a fold over flap that is glued inside the opening. 3. The right front opening of the gatefold cover is not sealed. A known 2/2 matrix, 1 mother, G stamper copy came with , an unglued and non-'folded in' sleeve at time of release, which hints at the possibility that very first pressings did not come with glued flaps, which is where the poster and stickers were located.
7. Inner sleeve is a distinctive polythene lined die cut black semi matt paper with white printed text stating 2 patent numbers bottom left [1125555/1072844] and 'MADE IN GREAT BRITAIN' bottom right.
8. Posters and stickers were printed on paper stock that has a rough texture (later pressings used paper that was gloss laminated).
9. Stickers have printed backs with diagonal lines across them, and the words 'Fasson' 'FasPrint' and 'Crack-Back'.
10. Some copies came with a small round sticker white text on blueish black stating 'Pink Floyd The Dark Side of the Moon' (confirmed for stampers GL/MO), while some others do not.
____________

This first edition was initially pressed by The Gramophone Co. Ltd., from July 1st, 1973 by its legal successor, EMI Records Ltd. at the same plant.
International E.M.I. catalog number 1E 064 o 05249 appears in small fonts and parentheses on the cover rear.

Note on Credits:
Though credited for the entire album, Barry St John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.Made in UK

Digital remasters ℗ 1992 The copyright in this sound recording is owned by EMI Records Ltd.
© 1993 EMI Records Ltd.Total playing time: 42'55"

On the back:
℗ 1993 UNISON Records Ltd.

Serial # 'CDP 0017' is on the spines.
Serial # 'CDP 075' is on the CD surface and on the matrix.

Unofficial release issued in a jewel case with poster-like 8 page insert with lyrics (but without any credits).
Track durations are from EAC database.
It's similar to Pink Floyd - The Dark Side Of The Moon except the different view of the back side of the tray card.Released in a gatefold sleeve. No inserts.

Category on sticker upper right rear of outer gatefold sleeve.

Tracks A1 and A2 are listed according to the sleeve; on the label they are listed as:
(a) (i) Speak To Me
(ii) Breathe in the Air

Sleeve:
Recorded at Abbey Road Studios, London
between June 1972 and January 1973
℗ 1973

Labels:

℗ 1973

Made in N.Z. by E.M.I. (New Zealand) Limited

1st New Zealand quadraphonic issue.

Note on Credits:
Though not detailed in the liner notes, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.1973 print with standard Dutch yellow Harvest label. "The Great Gig in the Sky" is credited to 'Waters' on the label, but the sleeve correctly credits it to 'Wright". The sleeve is exactly the same as the normal first Dutch version.Includes poster and printed inner sleeve with advertising. On the back of the cover, in the upper right corner, under catalog number (SHVL 804) there is a second catalog number printed with a very small text: "(1E 064 ° 05249)". There is a difference to most of the other Swedish releases. Inside gatefold there is no information in the lower left corner.
Made in Sweden written on labels.

Sleeve printed by SIB-Tryck, Tumba, logo on back cover (bottom-right) and on the inner sleeve (bottom).

Recorded at Abbey Road Studios, London, between June 1972 and January 1973.
℗ 1973 The Gramophone Company Limited

Note on Credits:
Though not detailed in the liner notes, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.As seen on the pictures there is a miss-writing on the labels side B, it's written PING FLOYD

EMI Records issue with an inverted prism on the front cover, and a upright prism on the back cover. The ending of side 2 is missing the heartbeats and ending voice.

Note on Credits:
Though not detailed in the liner notes, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks A4, B2, B4, and B5.℗ 1973 Original sound recordings made by EMI Records Ltd.
© 1973 EMI Records Ltd.

All lyrics © Pink Floyd Music Publ. Ltd./Cappell Music Ltd. Used by Permission

Recorded at Abbey Road Studios, London
between June 1972 and January 1973

Printed in England by James Upton Ltd Birmingham and London

Made in U.K.
----------------
Custom pressed CD issued May 2002 to mark the closure of EMI's CD pressing plant in Swindon. These were made in very limited quantities & presented to factory staff members. This title was chosen as it was the first CD manufactured at the plant. The custom pressed CD has the words 'Dark Side Of The Moon - First And Last - EMI Swindon 1986-2002' in the matrix area. It comes complete with picture booklet, numbered certificate and an additional custom pressed unplayable CD with a picture of the factory and the EMI logo.

The musical content of the CD is identical to every other pressing of Dark Side of The Moon - "It's a classic, not to be messed with!" The disc itself is custom pressed however with the matrix:

Dark Side Of The Moon - First And Last - EMI Swindon 1986-2002

This matrix is unique to this pressing.

The picture booklet is the same as the 1994 remastered issue of the album.

The Extras

Also included in a 5"x5" card certificate which is predominantly black in design with the iconic prism image in the centre. At the top the words 'Presented To' below this there is a blank space for a name to be added, though this was has not been dedicated to anyone. Below that the wording

'To Mark The Closure Of The EMI Swindon CD Factory In May 2002'

Below the prism image the text:

Between August 1985 and May 2002 The Company Produced 662,930,600 CD's of which this is number 662,930,XXX

Dark Side Of The Moon Was The First And Last CD Produced By EMI in Swindon

Also included is a second CD. This CD contains no music and is not playable. In the centre of the CD there is a colour image of the factory. Above the image in red is the EMI company logo and the wording '663 Million Quality CD's Supplied To The World'.

Below the picture the text:

To Commemorate The Achievements Of All The Staff That Made Swindon A World Class Manufacturing Plant.

Note on Credits:
Though not stated in the liner notes, Barry St. John, Doris Troy, Lesley Duncan, and Liza Strike perform backing vocals only on tracks 3, 6, 8, and 9.Recorded at Abbey Road Studios, London between June 1972 and January 1973.

This is the original form of the release, it has solid light blue prism LP picture labels with silver lettering, later forms have an empty prism. It has a gatefold sleeve, and there are three known variations of the original blue-tinged sleeve - see below. Originally came with 2 posters and 2 stickers.

There are 2 systems for track numbering on the release. The cover lists the titles A1 to B5 (used in this submission). The labels however number the tracks from (a) to (i) so, for example, "Breathe" is listed as "(a)(II)" on the label but "2" on the cover (see images).

The following is a guide to identifying all of the elements that make up the first pressing:

1. The label has a solid light blue prism. Subsequent pressings have a blue glowing inner edge prism with the centre black.
2. 'The Gramophone Co.' text starts at 10 o'clock on label.
3. A2/B2 matrix in deadwax of run out groove.
4. Thick heavyweight vinyl believed by some to be the 'finest' and most true encapsulation of this historical recording as the first pressing was pressed direct from the original masterplate. "These 1st pressings were straight from the masters and nothing even gets close to them today. They play with a deep clear warm clarity and have to be heard to be believed!".
5. There is a distinct bluish tint/tinge in the black ink of the cover.
6. There are three known original sleeve variations. 1. The right front opening of the gatefold cover is sealed with the two sides glued together. 2. The right front opening of the gatefold cover is sealed with a fold over flap that is glued inside the opening. 3. The right front opening of the gatefold cover is not sealed. A known 2/2 matrix, 1 mother, G stamper copy came with , an unglued and non-'folded in' sleeve at time of release, which hints at the possibility that very first pressings did not come with glued flaps, which is where the poster and stickers were located.
7. Inner sleeve is a distinctive polythene lined die cut black semi matt paper with white printed text stating 2 patent numbers bottom left [112555/1072844] and 'MADE IN GREAT BRITAIN' bottom right.
8. Posters and stickers were printed on paper stock that has a rough texture (later pressings used paper that was gloss laminated).
9. Stickers have printed backs with diagonal lines across them, and the words 'Fasson' 'FasPrint' and 'Crack-Back'.
10. Very first copies came with a small round sticker white text on black stating 'Pink Floyd The Dark Side of the Moon'.Comes with a sticker on the front of the shrinkwrap, two original posters and two stickers.

[Sticker text]:
The stereo remastered album on heavyweight 180g vinyl
Remastered from the original analogue tapes by JAMES GUTHRIE, JOEL PLANTE and BERNIE GRUNDMAN
Original UK release date: March 1973.

Recorded at Abbey Road Studios, London between June 1972 and January 1973.

[Publishers]:
Tracks 1, 5 and 8 published by Pink Floyd Music Publishers Ltd. administered by Imagem UK Ltd.
for the world excluding USA & Canada. USA & Canada: TRO-Hampshire House Publishing Corp.
Tracks 2, 3, 4 and 7 published by Pink Floyd Music Publishers Ltd. administered by Imagem UK Ltd./
Roger Waters Music Overseas Ltd., Artemis Muziekuitguverij B.V. (BUM/STE) administered by Warner
Chappell Music Publishing Ltd. for the World except USA & Canada. USA & Canada: TRO-Hampshire
House Publishing Corp. Tracks 6, 9 and 10 published by Roger Waters Music Overseas Ltd.,
Artemis Muziekuitguverij B.V. (BUM/STE) administered by Warner Chappell Music Publishing Ltd. for
the World except USA & Canada. USA & Canada: TRO-Hampshire House Publishing Corp.

℗ 2016 Pink Floyd Music Ltd., marketed and distributed by Parlophone Records Ltd.,
a Warner Music Group Company. © 2016 Pink Floyd Music Ltd. The copyright in this
sound recording and artwork is owned by Pink Floyd Music Ltd. Made in the E.U.
www.pinkfloyd.com

Made and Printed in the E.U.

Video

Comments

Maman Maman
What is the difference between this version and https://www.discogs.com/Pink-Floyd-The-Dark-Side-Of-The-Moon/release/2681122 ? apart from the cute out
Dondallon Dondallon
What if I have one with blue triangle labels? Both label and sleeve credit Wright for "The Great Gig in the Sky".
i have the same ! my first number is 1A 062-05249.
I have the same one! On both sleeve and label Wright is credited. Also blue triangles, with side 2 being a slight misprint (white letters are shifted slightly, so the letters are a mix of blue and white).
Nightscar Nightscar
This is a sonic and musical masterpiece. What the best sides of The Dark Side of The Moon have to offer is not hard to hear : the biggest, immediate staging in the largest acoustic space, the most Tubey Magic, without which you have almost nothing. Digital give you clean and clear, but only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the Tapes in 1973. Correct amount of weight down low; natural tonality in the midrange - with all the instruments having the correct timbre; transparency, and resolution, critical to hearing into the three-dimensional space of the studio. The best copies are not brighter or hyped-up in any way, they are just bigger and clearer. You have to play as LOUD as possible, and then you will hear the difference ! Early british pressings are the best, forget modern , digitally sourced reissues !! ( just my opinion)
Moogura Moogura
A very good copy, absolutely cleen, with great dynamics, but about this point, I remember the original pressing my dad had me listen to, I remember that there was more dynamic on "Money" for exemple, I think Pink Floyd always payed a lot of care about that it's part of the magic, close to classic/orchestral albums, very low volume and then boom, a music explosion...that brings all the emotion.But all tracks have a really good dynamic, I really enjoy that, and some other tracks have maybe a bit more dynamic than the original pressing...they did some good work.it's all about what I remember, the last time I listened to the original pressing was like 4 or 5 years ago..But as about all the remastering, the bass are more prononced, but still there are not to high, and for that there are some passages of the album I enjoy more because of that, but for one or the other I think it was not necessary...But about all remastering have a boost in the low frequency, and depending on your sound system (speakers..) you may notice less small details in the high frequency range...I listened it with crap speakers and it was worse than the original, but with a decent audio system I like it more (I'm speaking for this remastering, not all the others, it's not true for all of them).Sometimes I ask myself "but why did they work on something that is great ? What do they want more?"In my opinion there are plenty of albums wich should not have been remastered...they where good as they where...Maybe they enjoy to try new thinks.But overall, don't forget it was a top selling for years, a master piece...and still now it's selling good, it's a "must have" album.All good !
Dishadel Dishadel
Fantastic remastering and nice clean pressing. Great artwork. Well worth the $.
Faezahn Faezahn
To be honest, I have several different releases of TDOTM. But this one here sound very clean, but somehow lifeless and for my taste too much bass. The bass shouldn't be as dominant as it is on this release, because it covers all the details. I compared it to my original pressing (UK 1973) and the CD from 1994. In my opinion is the original LP from 1973 and the CD a better choice due to the details of the music. Less bass seems to be old fashioned in these days.
Welahza Welahza
I own multiple versions of this album. I have a Canadian first press, a Mofi 'italicized' version, a 100th anniversary EMI copy, a 20th anniversary edition, and a few others as well. To my ears, all of them kill this newer remaster. I found my copy to be dead, lifeless, and lacking in soundstage. Separation and definition were also weak. I should state, however, that my equipment is extremely discriminating. If you have a run of the mill system, you probably won't hear much of a difference. If that is the case, this is definitely an inexpensive way to introduce yourself to Pink Floyd on vinyl but, this remaster is by no means comparable to most of the earlier analogue presses. If you have a great system, don't waste your money. There are plenty of earlier analogue copies available which will smoke this edition. Yes, you might spend a little more but, I believe it's worth it if you own quality stereo components. This remaster is a thumbs down for me. I gave my copy away.
ndup ndup
I agree to the points you made. As I mentoned. there's too much bass and less detailed compared to all the other releases.
hardy hardy
While it's not an AAA pressing, this might be the best modern iteration of this iconic album. Outstanding packaging and a high quality, black as night (silent) pressing. Oh, and did I mention that it sounds amazing? Seriously, the remaster is amazing. Created with love for mere mortals with modest budgets.
Akinozuru Akinozuru
super quiet, no surface noise or pops. great sounding copy.
AnnyMars AnnyMars
A masterwork.. I don't know what they done here but the result is glorious.. The vinyl it sound from early 80s era.. One of the greatest remasters i have heard.. Very rare to have such quality in these days.. So run and get one copy soon..
DABY DABY
yes, this record sound great. Never heard any other pressings but this one is super clean.
Kiutondyl Kiutondyl
It's a good reprint, a wonderfull alternative for expensive originals. It sounds quite simmilar to the original, at least to my unproffessional ear.
Brakree Brakree
The surface of the cover is printed with mat soft touch
Dalallador Dalallador
As someone who has compared this to Japanese PRO USE, MFSL reissue and UK early pressings I can easily say that its a fine alternative for anyone who wants easy and cheap access to a quiet and well sounding copy.In short, its one of the most balanced cuts of the album, making most aspects heard and appreciated even on lower quality gear. And still, the bass and highs are here in an almost perfectly EQd soundstage.The main drawback is a slight harshness to the sound compared to most other cuts and the dynamics are not as strong on some others.Equipment Used:Rega RP1 with Nagaoka MP-200 CartridgeCyrus 2 AmplifierSystem Fidelity SF-3050 Tower SpeakersCustom made HQ Speaker Cables
Haal Haal
What a great great record this is. The sound is astounding, no crackling whatsoever. The record itself is a legend but the quality of this 2016 pressing is unheard of. Five stars all the way.
Narim Narim
This version is great. I compared it to my original 1973 US release and it sounds about the same (a tad more bass on the original.) Definitely a good bargain for the money.
Dorintrius Dorintrius
Awesome sound, the best among the LP's I own. I don't have many though.. :P
Leceri Leceri
Sorry for popping the party of euphoria here but If you are on vinyl for the analog magic and etc (and not some kind of hipster douche that thinks just because its on vinyl it sounds better than CD) then please don't waste your time/money here. Compare this with a clean UK/JPN original or with a 2003 anniversary version and you will feel like removing a heavy carpet from your speakers (like literally). This vinyl is digitally sourced -like most of the new masters nowadays thus should be avoided or alternatively bought on a CD (to spare yourself from the fragility of vinyl)
Fearlesshunter Fearlesshunter
System match has nothing to do with it. EQ is something thats identifiable on any gear as it works on level. 1 pressing is comparatively darker and more muffled and the other is brighter and crisper.I can go to any of my friends systems and get the same results.
MisterMax MisterMax
then your system is wrongly matched or low-end or you are just a drunk Scandinavian :p
Envias Envias
leokats Sorry for popping the party of euphoria here but If you are on vinyl for the analog magic and etc (and not some kind of hipster douche that thinks just because its on vinyl it sounds better than CD) then please don't waste your time/money here. Compare this with a clean UK/JPN original or with a 2003 anniversary version and you will feel like removing a heavy carpet from your speakers (like literally). This vinyl is digitally sourced -like most of the new masters nowadays thus should be avoided or alternatively bought on a CD (to spare yourself from the fragility of vinyl) I completely disagree with your terminology as I have compared to my UK and Japanese copies. The UK is actually more veiled and muffled because of its low end lean. The 2016 reissue is less so.I think you should get off your analog high horse and realize that you can make quality from tapes copied to digital as well.
Urtte Urtte
I agreed your saying "feel like removing a heavy carpet from your speakers". this album itself was acceptionally well-recorded. for this reason, it will sound great on the most system untill one can compare with the better pressings. I was astonished how muddy this pressing is compared to 1989 korean pressing which no one would regard as an audiophile pressing. Sorry this ain't sound good.
BORZOTA BORZOTA
Honestly I don't get what you are trying to point out here. First the CD is always cheaper than the equivalent vinyl version and comparatively a lot easier to maintain in good condition (no brushes no washing no.. the list goes on), so why on god damn earth buy a digitally sourced vinyl? Concerning the "reviews" I will say that people will always have mixed opinions since music is mainly a perception, HOWEVER anyone who has heard an original or correctly done AAA (fully analogue) reissue will definitely trash the 2016s given a correctly matched system (thats a fact not an opinion). I am just trying to raise awareness here and say the obvious; if a company wants to reissue an album by using the vinyl format it should be done with respect to the medium and to what it offers, rather than be appealing to newbies that think wow vinyl is amazing because its thick thus "uncompressed" and 180g (and all these kind of myths that flow around vinyl)
Erthai Erthai
Averaging about $20/£20 isn't really a waste of money and by all accounts this is a great pressing for the price, digitally sourced or not. Most people just want to enjoy listening to the album and this provides a great experience at a modest price. Most reviews place this close behind the originals, but at a fraction of the cost. Some would say the 30th has more issues despite it's analog source and that the 2016 issue suits mid to low end systems very well. Regarding the fragility of vinyl that's a moot point. If you look after a vinyl and a cd equally well they will both last a lifetime. (Many, many pages of comments & discussion over here, like literally) https://forums.stevehoffman.tv/threads/new-pink-floyd-vinyl-reissues.523332/page-390).
Slowly writer Slowly writer
Here is a link to the vinyl reviews review of this specific pressing: https://vinylreviews.com/album/dark-side-of-the-moon/
Zodama Zodama
sounds fantastic. going from digital to this shows just how much difference vinyl can make
inform inform
Would recommend. Awesome sound and brilliant mastering. An must buy.
Black_Hawk_Down. Black_Hawk_Down.
It's good...but good only. An old german issue plays better for me. Anyway it's nice, new, flat, plays clear and quiet, without clicks or pops. It's worth a "good price".
huckman huckman
Clean your records with a good antistatic fluid!Pops will disappear
Mr_NiCkNaMe Mr_NiCkNaMe
Oh you're definitely right. every record though new need a gentle cleaning to remove dust and factory residues.
Minha Minha
burraga What is the brand of antistatic fluid that you use? Nevermind I fixed the problem by adding a humidifier to my room. You need the right moisture levels, around 50%, 30% minimum to prevent static from appearing.
Yozshunris Yozshunris
burraga What is the brand of antistatic fluid that you use? Ive used 2. Tentanol 2000 and Lart Du Son.
Jek Jek
What is the brand of antistatic fluid that you use?
Der Bat Der Bat
I did, it didnt help. Although I have problems with my Okki Nokki in general so.
Zepavitta Zepavitta
impressive soundstage and detail, and as quiet as the dark side of the moon itself. i am so impressed, again with these recent remasters. I notice, that some are having issue with clicks and pops, and upon opening this album i myself always inspect and thoroughly wet/vacuum clean all albums, I did notice this had more"particles" on the surface. cleaned a couple times, and it sounds great on both tables i have, a dual 1019 and a reba rp8.
Qumenalu Qumenalu
Wanna give away one of your tables there? Id love to have an RP8 ;^)
Simple fellow Simple fellow
Very good remastered version of this mythic album, it comes with two stickers and two posters. If you wanna rediscover this Pink Floyd emblematic album, you know what to do.
Mitynarit Mitynarit
One of the classics and an icon for vinyl records. We all know the great art that so many Pink Floyd albums include and this is far from an exception. Perhaps the most elegant designs there is. The black sleeve feels soft to hold and along comes the posters and stickers. Of course we can not forget about the record itself which as many here have stated sounds fantastic. One of my favorite albums. Perhaps the only negative being a slight static sound I hear on the quieter songs and some warping which could have been a side effect from shipping. Even so it is amazing how well they have mastered this release and it can bring out the most of your sound system even though its digitally sourced. Bernie Grundman and co really know how to master properly. These new Pink Floyd albums really are benchmarks for great sounding remasters. If you love this album and you buy this as your first DSotM record I can not foresee you being disappointed.What still amazes me however, is how consistent Pink Floyd is at making terrible posters haha!Current ranking: 1. MoFi's Side 22. Japanese PRO USE's Side 13.UK Original A3/B34. 2016 Grundman Cut (This)?. MoFi UHQR?. 30th AnniversaryEquipment Used:Rega RP1 with Nagaoka MP-110 CartridgeCyrus 2 AmplifierSystem Fidelity SF-3050 Tower SpeakersCustom made HQ Speaker Cables
RuTGamer RuTGamer
Sound is very nice, but LP itself came slightly warped...
Winawel Winawel
This pressing is amazing. Everything is in perfect balance and sound stage is very clear. Sound is full and just easy to listen. Best remaster I have heard so far.
PanshyR PanshyR
have you tried Animals ? it is good too, sounds are clear..
Kajishakar Kajishakar
Packaging is really nicely done but the pressing is not good - full of crackle, clicks - very poor. Played on Michel Gyrodec so should sound good. The 2011 issue was so much better. I would go for that one over this (https://www.discogs.com/Pink-Floyd-The-Dark-Side-Of-The-Moon/release/3211255). Pretty unimpressed.
Cesar Cesar
every record, though new, needs cleaning to remove dust, static electricity as well as factory residues
Rolling Flipper Rolling Flipper
Did you wet clean before playing? I've noticed quite a few releases are covered in particles when I open them for the first time.
grand star grand star
This mastering & pressing is phenomenal. If the sound is anything but fantastic then something is wrong with your stereo. Bravo to all involved with this release.
Manesenci Manesenci
BTW: Havr just played the 2011 issue again and it really has some punch to it. The 2016 repress is very 'soft' in comparison. The 2011 version will be very hard to beat. Check out when The Great Gig In The Sky kicks in, it will knock you out!
Kale Kale
Have now wet cleaned it, and it still sounds bad - lots of crackle noise everywhere and distortion. If I play the 2011 pressing, this is fine! I must have a bad copy - very disappointed and a VERY unpleasurable listening experience considering there are some many quiet parts on the album. Buyers beware that there are some poor pressings out there.
Gann Gann
I agree in all points - i have much versions an this is one of the Best!!
JUST DO IT JUST DO IT
A superb presentation of this iconic Pink Floyd album. 5 stars.
Gold Crown Gold Crown
Dead quiet. Beautiful sound. Bernie Grundman. I own many versions of this album and this is second only to my Japanese first pressing.
Umdwyn Umdwyn
My matrices/etchings match this release (Bernie Grundman) but my barcodes match the US release. Anyone else seeing something similar?
Mora Mora
Yes. The gatefold sleeve, labels, and shrink wrap stickers have the US numbers and distributed by Sony but the matrices have the EU/UK numbers.
Ttexav Ttexav
It was just about as i expected; high-quality pressing, beautiful gatefold-covers, the posters and postcards are a nice addition too. Sounds superb too!
Zuser Zuser
  Merman records. Word on the Steve Hoffman forum is that it is definitely NOT AAA. However, opinions are very favourable and say it compares well with originals and that is from people who are very much into AAA. Note that the UK/EU version is mastered by Bernie Grundman while the US version isn't, which has led to most American people on that forum going for the UK/EU version.
Mr_KiLLaURa Mr_KiLLaURa
Actually, US Dark Sides have been coming back as Grundman; it's actually Wish You Were Here that's the repackaged 2011 Sax cut in the US.
Yggfyn Yggfyn
Is it all analog, or is it AAD? The cover says it' from the original master tapes, but not if it's all analog.
MrDog MrDog
mermanrecords Is it all analog, or is it AAD? The cover says it' from the original master tapes, but not if it's all analog. It says on the sticker at the upper left after the side two tracklist: "remastered from the original analogue tapes by james guthrie et al.."
Eigonn Eigonn
The 30th anniversary edition is already digital as 20th. I have japan's first press in very-very good condition, true-NM, clean, grooves in very good condition, no distortion... and it's with all suff: posters, card, booklet.
Qiahmagha Qiahmagha
That I don't know but I suspect all of the new PFR releases are digital.
Marg Marg
Gilmour said it himself. I'll try to find the interview.
TheSuspect TheSuspect
Where did yoi hear they were too damaged. Money talks and id imagine if the money was on the table from somewhere then they would be used. Look at the Doors Analogue Productions reissues. Only self titled used a tape copy for that campaign.
Keramar Keramar
This is not analog and it will never be analog release anymore.
Hilarious Kangaroo Hilarious Kangaroo
It seems they're all AAD, but that really shouldn't dissuade you - they've all been getting good reviews so far. I've only heard Meddle - and though I've not heard an original, it's hard to imagine doing better, particularly with 45 year-old tapes.
elektron elektron
Thanks for the info rasoren, helped me find the right release there.Can you elaborate a little, is it only for TDSOTM or the entire discog that they pressed AAA?
Ckelond Ckelond
This is most likely a digital remaster. The original masters are too old and damaged. The 30th anniversary edition is the last all analog remaster and that was done in 2003.